日志

Timur Si-Qin (b. 1984, Berlin, Germany) creates artwork that posits advertising and commercial marketing as a result and extension of biology. Across his practice, Si-Qin works to combat essentialism—whether in branding, language, or nature itself. He often builds seemingly organic environments whose underlying industrial structures can be easily seen, thus calling into question the things we take for granted as “natural” or “unnatural.” For the High Line, Si-Qin presents Forgiving Change, aluminum casts of a burned tree branch from Pepperwood Preserve, which was the site of one of the many forest fires that crossed the west coast of North America in 2017.

For the 2018 Shanghai Biennale, LuYang created a large scale installation including a Dance Dance Revolution arcade game installation. The installation also include set design, LED displays, videos and modified arcade machines. The Shanghai Biennale is now on at the Power Station of Art from 10 November 2018 until 10 March 2019. Watch the teaser on MetaObjects Vimeo.

A motley assortment of enchanting ceramic sculptures fills the first room of Baga’s installation “Mollusca and the Pelvic Floor.” A half-dozen glazed poodle heads accompany melting guitars, volcanic islands, and fossil-like abstractions; two busts—a self-portrait and a deft rendering of RuPaul—house virtual-assistant devices. Read more on New Yorker.

The real crime, however, was that these deadening works were hung near three inspired paintings by Jeanette Mundt, each depicting a gymnast torqueing through the air at Rio 2016 Olympics. (…)Purchase full online access

Organized by Living Content in partnership with Times Square Space, Living Content Live is a full day event consisting of talks, presentations, screenings, and performances, by some of the most thought-provoking contemporary artists, writers, and curators. Dealing with topics such as ecology, feminism, technology, and knowledge production, the featured speakers will present unique insights into their practices and their discourses. Read more on Living Content website

Trisha Baga’s brand of weirdness draws from science fiction, spiritualism and contemporary oracles like Wikipedia and Alexa, the digital personal assistant. As art, it takes the form of a psychedelic 3-D video installation, ceramic sculptures in various sizes and paintings on lenticular photographs in the show “Mollusca & the Pelvic Floor” at Greene Naftali. Read more on The New York Times.

The L.A.-based artist was commissioned by the Seoul shopping center for a new large-scale public art installation, which was unveiled today. Working with Korean creative agency SketchedSpace, which produced the project, Cortright created new digital paintings which “skin” the building’s facade, as well as 17 large flags bearing her designs. Read more on WWD

Bunny Rogers: INATTENTION on view at Marciano Art Foundation

Trisha Baga’s third exhibition at Greene Naftali is also her most ambitious. “Mollusca & The Pelvic Floor,” like its cosmically hilarious and dizzyingly psychedelic predecessors, features a dazzling and untidy collection of found, handmade, and moving-image works: from doctored lenticular posters of human anatomy to idiosyncratic ceramic representations of everyday objects, all arranged around and within a deliriously complex 3D video installation. Read more on art agenda.

For her third exhibition at Greene Naftali, Mollusca & the Pelvic Floor, Baga presents an installation comprising a wide-ranging landscape of ceramics in varying scales, as well as a new video installation. The exhibition’s eponymous central video examines language, technology, identity, and intimacy, through an expanding and contracting scope that ranges from galactic footage sourced from the sci-fi movie Contact, to video of intimate minutia such as Baga’s toes peeking out from a bathtub, an image echoed in a pair of small ceramic sculptures on the floor.

Bunny Rogers & Aria Hughes-Liebling Poetry Reading

The September issue of Texte zur Kunst focuses on Amerika (U.S. America principally): the land, the idea, and all that seems to come with it. What is Amerika today other than a contradiction between brute political reality and a largely fictional self-image, where fiction says as much about fact as “alternative facts” say about the truth? Purchase full online access

For the grand opening of the new Powerlong Art Centre in Hangzhou, Lu Yang presented a new and upgraded version of her Electromagnetic Brainology Live motion capture performance. The performance was presented during the opening ceremony of the centre alongside video installations of her work in a group exhibition title Nine Tomorrows curated by Yao Dajuin. Watch it on MetaObjects Vimeo

Watch the praised artist Bunny Rogers (b. 1990) talk about creating autobiographical work that draws from memory and deals with her childhood by archiving her feelings from that time: “You can’t make objective art, it’s going to be subjective.” Louisiana Channel on Vimeo

Sean Raspet describes his interest in the chemical structure of flavors and scents, and considers how molecular analysis presents new ways of thinking about the potential of art objects and their relationship to audiences. Swiss Institute on YouTube

Virtual reality is increasingly being used as a medium within the parameters of art: a development that connects to the way technology is increasingly shaping the way we live. How are artists engaging with this emergent techno-reality, and what future do they see?

Can human beings mutate into we are historically used to call “gods” with the help of advanced technology? The Shanghai based artist discusses her interest in the physiology of the human brain, religious narratives, and the aesthetics of gaming and anime in relation to her hyper-stimulating, arcade-like installations. Read more on Mousse Magazine

From a young age, I feel that the characters in the anime are easily pretty drawn only a few strokes. How can people be so tired and still look so ugly? I have Chūnibyō illness so it is easy to get into the role when cosplaying. Read and watch on Yuen Hsieh Vimeo

Katja Novitskova, born in 1984 in Tallinn, is currently based in Berlin, and Timur Si-Qin, born in 1984 in Berlin, is based in New York. Katja and Timur’s long friendship stems from their shared passion for nature and philosophy. Here, in the second issue of Living Content, they reminisce about their beginnings in art, their community spanning Berlin and Amsterdam, and they also discuss their interest in deep time, ecology and evolution. Read more on Living Content.

The theme of this issue – The New New Left – is not entirely “new new,” as indeed it relates to the old anti-capitalist Left in its insistence on a theoretical analysis of capitalism and the price paid by many in such a system. Purchase full online access

Bunny Rogers is an artist that uses the Internet to create her artworks. For the exhibition “In Tune with the World”, she presents a series of refined self-portraits, where she depicts herself as Joan of Arc, from the American TV show “Clone High”. Fondation Louis Vuitton on YouTube

Outside of Our Minds – Timur Si-Qin’s mostly depicts peaceful scenarios which convey the notion of a new image of humanity and a new humanism within it. In conversation with SCHIRN curator Matthias Ulrich the Berlin artist gives in-depth insights in his work and filmic interest. Schirn Kunsthalle Frankfurt on YouTube

Listen to Alexander Iadarola discuss this article and the aesthetics of Juul with Rhizome artistic director Michael Conor on the Rhizome Rare podcast, available on iTunes. Or read the article on Rhizome

For Timur Si-Qin (born 1984), working with new media is second nature. “VR is a natural extension of my skill set,” he says. “I’ve used [it] for several years to plan my exhibitions and have worked with 3D software since I was a teenager.” Read more on Financial Times